Description
Revolving Door
Stephanie Kiwitt & Tina Schulz
Chock-full as well as empty, hollowed-out spaces have one thing in common: as soon as one enters them, they give an impression of absence. They produce a kind of vacuum, making the viewer or visitor feel like an unsolicited guest if not already an invisible one. Certain architectures can produce feelings like these, for example abandoned, misused and run-down architectures, or places which are temporary transshipment points of capital and goods. And as different as they may look: both have in common a proximity to chaos. Revolving Door, Tina Schulz and Stephanie Kiwitt's very first common project, revolves around a conception of such spaces; it touches them in passing, and leaves them again.
Stephanie Kiwitt builds her pictorial space, or image-space, with several interior views of supermarkets and shopping malls. She condenses indications, display objects and purposeful architectures to a hyperreal interior, which assigns neither a stable place to the viewer, nor to the persons that are 'available' in the pictorial space. Goods, displays, banners and other publicity means compete for attention and at the same time lose in this constant fight for survival: one gaze, and their expiration date is exceeded, their colour bleached; the worthlessness of their materiality exposed. A narrowness-by-drive prevails, and still a feeling of emptiness arises: nobody is there any more; the abundance is steeped in absence. One is channelled through this space, more by the wake of an indefinite movement than by one's own incentive.
The space installed by Tina Schulz touches upon similar ranges of presence and absence. She shows paper bands, which she has treated partly graphically, partly pictorially with red chalk, pigment and graphite. 'Treatment' is to be understood here in the simplest sense, since these bands are carrying manual traces, which permit conclusions about the originating process, and since they illustrate no more no less than banal traces of a direct touch on the material. The results of this work are not exposed as pictures, but as objects in space.
Stephanie Kiwitt & Tina Schulz
Chock-full as well as empty, hollowed-out spaces have one thing in common: as soon as one enters them, they give an impression of absence. They produce a kind of vacuum, making the viewer or visitor feel like an unsolicited guest if not already an invisible one. Certain architectures can produce feelings like these, for example abandoned, misused and run-down architectures, or places which are temporary transshipment points of capital and goods. And as different as they may look: both have in common a proximity to chaos. Revolving Door, Tina Schulz and Stephanie Kiwitt's very first common project, revolves around a conception of such spaces; it touches them in passing, and leaves them again.
Stephanie Kiwitt builds her pictorial space, or image-space, with several interior views of supermarkets and shopping malls. She condenses indications, display objects and purposeful architectures to a hyperreal interior, which assigns neither a stable place to the viewer, nor to the persons that are 'available' in the pictorial space. Goods, displays, banners and other publicity means compete for attention and at the same time lose in this constant fight for survival: one gaze, and their expiration date is exceeded, their colour bleached; the worthlessness of their materiality exposed. A narrowness-by-drive prevails, and still a feeling of emptiness arises: nobody is there any more; the abundance is steeped in absence. One is channelled through this space, more by the wake of an indefinite movement than by one's own incentive.
The space installed by Tina Schulz touches upon similar ranges of presence and absence. She shows paper bands, which she has treated partly graphically, partly pictorially with red chalk, pigment and graphite. 'Treatment' is to be understood here in the simplest sense, since these bands are carrying manual traces, which permit conclusions about the originating process, and since they illustrate no more no less than banal traces of a direct touch on the material. The results of this work are not exposed as pictures, but as objects in space.